Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they weren't of the expected background," he observes.

The magazine 72 itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His journey, he feels, is a demonstration to the power of defying expectations.

How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."